LED lights, laser levels, light boxes and neon tubes
serve as sculptural material for some artists, others record or recreate the light conditions of a particular place or moment.
She was a foundational voice in the development of avant - garde sculpture beginning in the 1960s, particularly challenging the use of
fiber as a sculptural material.
Leslie Wayne manipulates the medium of painting by approaching oil
paint as a sculptural material, often times scraping, folding, cutting, and building up the surfaces.
For her new show at Pace Prints (in conjunction with one at Pace Gallery), Donovan unveiled a series of prints, as well as a spiral wall assemblage, based on her «ongoing investigation of
Slinkys as sculptural material.»
The exhibition unveils a new series of prints, created in tandem with the artist's ongoing investigation of Slinkys
® as a sculptural material.
Having studied at the Städelschule Frankfurt in the 90's and later under the tutelage of Professor Thomas Bayrle, were you the only student breaking ground and working with
clay as a sculptural material back then?
For the third time in as many days, they trooped once more to Zwirner — this time on West Twentieth Street — for the dealer's three - part installation of PeaRoeFoam, named for the fish roe / green pea beads invented by the late Jason
Rhoades as sculptural material in 2002.
September 15 — October 29, 2006 Curated by John B. Ravenal Jennifer Allora and Guillermo Calzadilla Spencer Finch Ceal Floyer Ivan Navarro Nathaniel Rackowe Douglas Ross Using the theme of «
light as sculptural material,» the exhibition will feature dynamic new work by emerging and underexposed international artists whose primary material will be various forms of light — natural and artificial.
Rubber and metal feature frequently in the
exhibition as sculptural material, a continuation of Friedman's interest in industrial objects and their potential to reference and implicate the body.
His work embraces moving image, sound and other media to create immersive audio - visual installations and performances which emerge from his long - standing investigation of the
voice as a sculptural material and a socio - political agent.
«These pieces are looking at what we are but in a way that makes us seem overwhelmingly strange,» says Silverthorne, who has long used
rubber as her sculptural material and finds that its fleshlike quality works as a natural allusion to the body.
This latest exhibition presents a body of new work united as a single project — part of which will appear on the Power Plant's smokestack, rising fifty feet over Lake Ontario — and promises, cryptically, to explore «the non-metaphorical use of a cul -
de-sac as a sculptural material.»
With works dating from 1975 to 1988, the exhibition «Poetic Form» focuses on John Chamberlain's mid-career return to the use of car
metal as a sculptural material, as well as his long - term interest in vibrant, colorful expression in 2 and 3 dimensions.
In the second half of the»50s Mr. Chamberlain embraced scraps of discarded car
bodies as sculptural material, attracted foremost by their pre-existing color.
The third work is a mono print, part of a new series the artist created in tandem with her ongoing investigation of the Slinky
® as a sculptural material.
Whereas she previously leveraged
painting as a sculptural material, using slender rods and strips of brass or steel as the surface for mottled mark - making, in the new works metal geometric constructions seem to emerge from the surface of the painted image.
Karikis, a Greek / British artist based in London, centres his practice on the use of the voice — singing, and speaking —
as a sculptural material, and a means of exploring socio - political territories, in particular vanishing communities and ways of life.
By offering his body as a material to be experimented with, Offeh explores the question of how an artist can be used
as a sculptural material and his labour made useful to an audience.
Furthermore Hestelund also works with and use her own body
as a sculptural material.
She approaches oil paint
as a sculptural material, often times scraping, folding, cutting and draping it to approximate forms in nature or, like Readymades, to stand in for the objects they represent.
He then went onto use rubbish or his body
as sculptural material, and making works that were all about plinths and framing devices.